The melodic minor scale is a natural minor scale with the 6th and 7th degrees raised by a semitone when ascending, giving the pattern W–H–W–W–W–W–H. A melodic minor ascending is A, B, C, D, E, F#, G#, and it is used for melodies that need a smooth leading note.
What is the melodic minor scale?
The melodic minor scale is a natural minor scale with the 6th and 7th degrees raised by a semitone when ascending, so that melodies can move smoothly toward the tonic without the awkward augmented 2nd of the harmonic minor scale. A melodic minor ascending is A, B, C, D, E, F#, G#, A, with the 6th raised from F to F# and the 7th raised from G to G#. The result sounds like a major scale with a lowered 3rd, which is why it is sometimes described as a minor scale with a major flavour. The melodic minor scale has a split personality, which is part of its charm. In classical music it is ascending only: the scale rises with the raised 6th and 7th, and falls as the natural minor scale, with the 6th and 7th lowered again, because the leading note is not needed when the melody is moving away from the tonic. In jazz the scale is used in both directions with the raised notes, and it is called the jazz melodic minor, which is one of the most important scales in jazz improvisation, because its modes give the altered scale and the lydian dominant scale.
How the melodic minor scale works
The ascending interval pattern of the melodic minor scale is W, H, W, W, W, W, H, or in semitones, 0, 2, 3, 5, 7, 9, 11. Compare it with the natural minor pattern, 0, 2, 3, 5, 7, 8, 10, and the differences are the 6th, which rises from eight semitones to nine, and the 7th, which rises from ten semitones to eleven. The 3rd stays minor, three semitones above the root, so the scale is still minor, but the top of the scale is major, which is why it sounds brighter than the natural minor scale. The melodic minor scale is used mainly for melodies, which is why it is called melodic: composers use it when a melody needs to climb to the tonic smoothly, without the augmented 2nd gap of the harmonic minor scale. In jazz the scale is used differently, as a source of chords and modes: the 7th mode of the melodic minor scale is the altered scale, used over dominant 7th chords, and the 4th mode is the lydian dominant scale, used over dominant 7th chords with a raised 4th. The A melodic minor scale shows the notes, the A minor scale shows the natural minor version, and the scale finder builds the melodic minor scale from any root.
Worked example — E melodic minor. Start with E natural minor: E, F#, G, A, B, C, D, E. Raise the 6th degree, C, to C#, and raise the 7th degree, D, to D#, and you have E melodic minor ascending: E, F#, G, A, B, C#, D#, E. In classical practice the descending scale is the natural minor, E, D, C, B, A, G, F#, E, with the 6th and 7th lowered again. In jazz practice the ascending form is used in both directions. The E melodic minor scale shows the notes, and the E minor guitar chord is the tonic chord it belongs to.
How to practise the melodic minor scale
Practise the melodic minor scale as a pair with the natural minor scale, so your ear learns the two notes that change and the brightness they bring.
- Play the A natural minor scale ascending, then the A melodic minor scale, and listen for the F and G rising to F# and G#.
- Play the melodic minor scale ascending with the raised 6th and 7th, then descending as the natural minor scale, following the classical practice.
- On piano, play the melodic minor scale with your right hand while your left hand plays the tonic, and listen for the major flavour at the top of the scale.
- Build the melodic minor scales of E, B and F# minor, raising the 6th and 7th degrees in each case and checking the pattern.
- Use the scale finder to compare the melodic minor, harmonic minor and natural minor scales on the same root, and name the notes that differ.
Common mistakes
- Using the raised 6th and 7th when descending in classical music — In classical practice the melodic minor scale is ascending only, and the descending scale is the natural minor. Using the raised notes when descending sounds wrong in a classical context, even though jazz players do it routinely.
- Confusing melodic minor with major — The melodic minor scale has a major 6th and 7th, but its 3rd is minor, so it is still a minor scale. Playing it over a major chord will clash on the 3rd, so check the chord before you use the scale.
- Forgetting that the 3rd stays minor — Raising the 6th and 7th does not change the 3rd, which stays three semitones above the root. If you raise the 3rd as well, you have a major scale, not a melodic minor scale.
Quick reference
This table lists the melodic minor scale ascending in six keys, with the raised 6th and 7th degrees in the last column so you can see the two notes that change in each row. Every other note is identical to the natural minor scale on the same root, and the 3rd stays minor in every row, which is what keeps the scale minor.
| Key | Melodic minor (ascending) | Raised notes |
|---|---|---|
| A minor | A – B – C – D – E – F# – G# | F#, G# |
| E minor | E – F# – G – A – B – C# – D# | C#, D# |
| B minor | B – C# – D – E – F# – G# – A# | G#, A# |
| D minor | D – E – F – G – A – B – C# | B, C# |
| G minor | G – A – A# – C – D – E – F# | E, F# |
| C minor | C – D – D# – F – G – A – B | A, B |
Work through the table by taking the natural minor scale on each root and raising the 6th and 7th degrees by a semitone, checking your answers against the rows. When you can do that without looking, play the scale ascending with the raised notes and descending as the natural minor, and listen for the classical shape of the scale.
Frequently asked questions
What is the melodic minor scale?
The melodic minor scale is a natural minor scale with the 6th and 7th degrees raised by a semitone when ascending. A melodic minor ascending is A, B, C, D, E, F#, G#, and it is used for melodies that need a smooth leading note.
How is melodic minor different from harmonic minor?
The melodic minor raises both the 6th and the 7th degrees, while the harmonic minor raises only the 7th. That means the melodic minor has no augmented 2nd gap, so it is smoother for melodies, while the harmonic minor keeps the exotic gap.
Is the melodic minor scale different ascending and descending?
In classical music, yes: it ascends with the raised 6th and 7th and descends as the natural minor scale. In jazz, no: the raised form, called the jazz melodic minor, is used in both directions.
Why is the melodic minor scale important in jazz?
Because its modes are essential jazz scales: the 7th mode is the altered scale, used over dominant 7th chords, and the 4th mode is the lydian dominant scale. Jazz players learn the melodic minor scale as a source of sounds, not just as a scale.
Can I use the melodic minor scale over a minor chord?
Yes. The melodic minor scale fits over a minor 6th chord and a minor major 7th chord, and its raised 6th and 7th give it a brighter sound than the natural minor scale, which is why jazz players prefer it for minor-key improvisation.